Fans pick 100 books like The Fraud

I’m a novelist, essayist, and journalist who’s written extensively about the problems and consolations of faith, about belonging in and out of faith, and about the tribes of what I think of as the In Between. When you’re in between, you’re neither in it nor out of it, whatever “it” might be for you. You bear an “infinity of traces,” as the writer Antonio Gramsci called these formative influences. My first novel looks at these influences directly, while my second one looks at them indirectly. I’m late in the game with a third novel now—a detective story that investigates a murder along with these same themes. 

I started my academic life with two passions: listening to those I was researching and writing in ways that were accessible to all readers. I wasn’t willing to bow down to orthodoxies that would stifle my capacity to think and to write and make my way into new and emergent ideas and practices. Questions of ethics threaded their way through it all, not the kind of rule-based nonsense of university ethics committees, but ethics that enabled me to consider how matter matters and to re-think what we are in relation to each other and to the Earth.

I’m a novelist, essayist, and journalist who’s written extensively about the problems and consolations of faith, about belonging in and out of faith, and about the tribes of what I think of as the In Between. When you’re in between, you’re neither in it nor out of it, whatever “it” might be for you. You bear an “infinity of traces,” as the writer Antonio Gramsci called these formative influences. My first novel looks at these influences directly, while my second one looks at them indirectly. I’m late in the game with a third novel now—a detective story that investigates a murder along with these same themes. 

I’m a novelist, essayist, and journalist who’s written extensively about the problems and consolations of faith, about belonging in and out of faith, and about the tribes of what I think of as the In Between. When you’re in between, you’re neither in it nor out of it, whatever “it” might be for you. You bear an “infinity of traces,” as the writer Antonio Gramsci called these formative influences. My first novel looks at these influences directly, while my second one looks at them indirectly. I’m late in the game with a third novel now—a detective story that investigates a murder along with these same themes. 

I love to take destination thrillers with me on vacation. It’s like a double whammy of travel. I also love to write destination thrillers and have written quite a few, including my first book, set in a charming lakefront community on Lake Erie, Ohio. My other destination thrillers include Beneath the Surface, set on a luxurious super yacht on a trip to Catalina Island from Newport Beach, California, and my latest, Under the Palms, set at a fabulous Laguna Beach luxury resort. I love to write about grown-ups behaving badly. Dropping the characters into a beautiful resort or vacation setting increases the suspense. 

A writer friend asked me, "If you could write about anything you wanted, what would that be?"  I thought immediately of Sicily and then of women (and men) trying to break free from cultural definitions that have historically kept us in traditional roles of housewife, cook, and mother, or breadwinner and protector. Having choice and being able to carve one's path is paramount, a deeply held value for me, both as an individual woman and as a psychotherapist. The courage of some of my clients who have dared to follow their own paths, along with my challenge to steer my own path, were also inspirations for the books I chose. 

I have been absolutely entranced by complicated family dynamics and sibling relationships as long as I can remember. Particularly as they exist within the thriller space. I graduated with a degree in criminal justice which only fueled that fire as I learned so much more about psychology, the human mind, and the depths of human depravity. It was so natural for me to start exploring it in my own reading and writing. 

Only in my recent life as a reader did I realize that my favorite novels often follow a precise pattern: either the author or the main character is a woman. Or both. So, why this sort of bias from a male reader? I found a plausible answer in my belief that female protagonists, more than male ones, serve as the ideal lever for compelling plot twists—the deae ex machina of contemporary storytelling. No wonder the protagonist of the first novel I wrote is a woman. No wonder she’s gifted (or, rather, cursed) with supernatural powers. As for my choice of topic, could it possibly have turned out differently?

I’ve been a fanatic of horror, especially Gothic horror since I was about eight years old when I read all of Poe’s short stories. It’s the genre I read most often and the one I’m dedicated to writing about. For me, the most effective horror novels have a setting that is as rich and fully developed as any of the characters. You can battle vampires, zombies, and all of the other delightful monsters out there, but how do you battle what’s trapped in the walls around you? How do you fight a home that hates you? Or one that loves you too much to let you go? It’s endlessly fascinating.

Ever since I read The Chronicles of Narnia as a child, the concept of magical, sentient animals and their relationship with humans fascinated me, so it was no surprise that when I started to write the Blood of the Fae series, a massive, mysterious feline sauntered onto the pages and carved out a significant role in the story. Over the years, I’ve found many new favorite animal companions in the pages of books, and I’m working on building up a real-life collection of animal companions including ducks, chickens, a sweet kitty, and many more lovable critters to come (alas, none of them show signs of developing magical abilities)!